My aim is to offer insights into some of the more subtle principles underpinning prints. The commentary is based on thirty-eight years of teaching and the prints and other collectables that I am focusing on are those which I have acquired over the years.
In the galleries of prints (accessed by clicking the links immediately below) I am also adding fresh images offered for sale. If you get lost in the maze of links, simply click the "home" button to return to the blog discussions.

Condition: faultless impression in
pristine condition (i.e. there are no tears, holes, folds, abrasions, stains,
foxing or any signs of handling) with wide margins.

I am selling this rare etching (I have
only been able to locate one copy of it in any public collection) in pristine condition for AU$154 (currently US$114.32/EUR97.64/GBP86.91 at the
time of posting this listing) including postage and handling to anywhere in the
world (but not, of course, any import duties/taxes imposed by some countries).

If you are interested in purchasing this extraordinarily beautiful etching, please contact me (oz_jim@printsandprinciples.com)
and I will send you a PayPal invoice to make the payment easy.

This print has been sold

Like many of Feyen-Perrin’s etchings
this print is related to an oil painting of the same composition. The artist’s
choice of subject—here a winnower—leaned towards images of working folk
especially those near the sea. In this print, for example, I suspect that the far distance
portrayed with horizontal lines may be the ocean rather than
fields. Feyen-Perrin’s interest, however, was not simply depicting their labour
with objectively cool eyes. Instead, his fascination is similar to that of
Millet in showing rural work as noble labour worthy of respect.

Interestingly, Philip Gilbert Hammerton
(1876) in his justifiably famous “Etching & Etchers” (printed in lots of
editions) views the portrayed workers in Feyen-Perrin’s etchings as “rather melancholy”
(p. 226) and proposes that the artist “has much natural sympathy for the pathos of hard
life, especially as it touches women” (ibid). From my way of looking at this
particular print, I see this lady in her engagement with letting the breeze
blow away the chaff from the grain as all about freeze framing the act so that
it becomes an endless iconic moment.